“History as They Lived It deserves to be placed within the rich context of Illinois Country historiography going back more than a century. . . . It brings together the fully ripened thoughts of a mature scholar at the very moment that students of the Illinois Country need such a book.”—from the foreword by Carl J. Ekberg
Settled in 1722, Prairie du Rocher was at the geographic center of a French colony in the Mississippi Valley, which also included other villages in what is now Illinois and Missouri: Cahokia, Kaskaskia, Fort de Chartres, St. Philippe, Ste. Genevieve, and St. Louis. Located in an alluvial valley near towering limestone bluffs, which inspired the village’s name—French for “prairie of the rock”— Prairie du Rocher is the only one of the seven French colonial villages that still exists today as a small compact community.
The village of Prairie du Rocher endured governance by France, Great Britain, Virginia, and the Illinois territory before Illinois became a state in 1818. Despite these changes, the villagers persisted in maintaining the community and its values. Margaret Kimball Brown looks at one of the oldest towns in the region through the lenses of history and anthropology, utilizing extensive research in archives and public records to give historians, anthropologists, and general readers a lively depiction of this small community and its people.
As America passed from a mere venue for English plays into a country with its own nationally regarded playwrights, William Dunlap lived the life of a pioneer on the frontier of the fledgling American theatre, full of adventures, mishaps, and close calls. He adapted and translated plays for the American audience and wrote plays of his own as well, learning how theatres and theatre companies operated from the inside out.
Dunlap's masterpiece, A History of American Theatre was the first of its kind, drawing on the author's own experiences. In it, he describes the development of theatre in New York, Philadelphia, and South Carolina as well as Congress's first attempts at theatrical censorship. Never before previously indexed, this edition also includes a new introduction by Tice L. Miller.
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